Flowers In Their Season. IX. - Roses: Their Treatment In Oil And Water Colours. (Continued From Page 74.)

Bride Roses should have a thin wash of very much diluted gamboge over the whole flower, excepting on the curled over petals, where the highest lights occur. Then put in your deeper tones with pure gamboge (or aureolin); in the shadows mix with neutral tint, and if they are too cold or green in tone, add a touch of Indian yellow or orange cadmium. Put some deep touches of Indian yellow in the centre, and, now and then, even some raw sienna. The shadows of the outside petals occasionally have .a touch of olive green, or, if lighter, Hooker's green. The cool, grey shadows of the single petals, that seem almost purplish by contrast with the warm yellow, are rendered by cobalt blue and rose madder, or, if too purplish, simply by neutral tint.

Yellow Roses (Pearl Or Tea Roses)

Wash a tone of thin cadmium yellow or Indian yellow over the whole rose. The colours for the shadows are the same as those given for Bride roses, but you must keep them in a warmer and more pinkish hue, with a touch of rose madder instead of green, and Indian yellow or cadmium orange instead of gamboge or aureolin. A tea rose usually has a touch of rose madder in the yellow all over.

Catherine Mertnet Roses

Over the whole flower wash a thin tone of rose madder. The bluish shadows are painted with rose madder and a touch of cobalt blue, and the deep warm ones with more rose madder and a touch of Indian yellow or orange cadmium; in the deepest shadow of the outside petals use madder and raw sienna, and often a touch of olive green. Be very careful to preserve the values, and be sure not to put too heavy or black shadows in light roses of any colour. No strong blacks or browns should ever be used. A grey shadow may be painted with cobalt and rose madder.

La France Roses

Wash over the flower a thin tone of rose madder or crimson lake, leaving the high lights on the curled-over petals white, and deepen the shadows with the same, the grey ones having a little cobalt mixed with the other colour, or even a thin tone of neutral tint. Where the pink is stronger or transparent, and therefore has a warmer tone, add some scarlet lake. The La France rose is usually on a bluish tone of pink, but do not therefore feel bound to mix blue everywhere .with the pink, but simply omit yellows, the rose madder or crimson lake both being of a bluish tint in themselves.

In painting these roses in oil colours, the colours of the same names for water colours may be used. The various tones of pink and red, of course, will call for the use of more or less white - which pigment in water-colour painting, of course, should not be employed at all. In oil you can use a good deal of vermilion or Chinese vermilion, too, mixed with white for your lightest and brightest pink tones. For the light roses white is used everywhere; for the darker ones only in the lights, while the shadows ought to be transparent. Some siccatif should be added whenever lake or rose madder is used much, these two being very slow drying colours.

The Mermets and such light roses are treated with the same colours as in water colours, except the yellows that are used with the pink, and which are to be replaced by the Naples yellow, all the varieties of which - there are Nos. 1, 2, and 3, and one called greenish Naples yellow - are useful for roses. Where there is a touch of strong vellow in the ouside petals next to the calyx, take some strontium yellow with the white, if in full light, while in shadow some yellow ochre, less white, and a touch of ivory black are used.

For the white and yellow roses, such as Bride, Pearl, and so on, strontium is very useful mixed with white for the highest lights and strongest yellow tones. The Naples yellows are used for softer and more subdued tones. For the shadows use king's yellow, strontium yellow, or cadmium with less white and some ivory black. Yellow ochre and raw sienna may also be used, and if the tones are greenish add a touch of cobalt blue. The greys next to the high lights are made with emerald green, vermilion, and white.

Suggestions for the treatment of deep red roses for both oil and water colours were given last month.